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BearingPoint acquisition fuels federal growth
Deloitte LLP's acquisition of BearingPoint's government practice in early 2009 is a good example of how a sum can add up to more than its parts.
2010 Top 100 rankings
Top 100 companies face an ever-changing market
Ethics rules expected to spur acquisitions
Stand up and embrace a changing market
Contractors find fertile fields abroad
Top 20 profiles
Top 100 methodology
By bringing together its own top-ranked consulting and advisory practice with a federally focused systems integrator such as BearingPoint, Deloitte not only managed to triple its size but also grew its federal business by another 10 percent in 2009. As a result, Deloitte cracked the top 20 of Washington Technology's Top 100 federal contractors list for the first time.
Deloitte roared in at No. 18 on the 2010 list with $1.7 billion in prime federal contractor revenues.
"I would characterize 2009 as a grand slam," said Robin Lineberger, principal for Deloitte Consulting LLP and chief executive officer of federal government services. He was the leader of BearingPoint's federal practice before the acquisition.
"We exceeded all of our practical expectations for the year," he said. "As a result, we are poised for a strong 2010."
Deloitte was able to retain 100 percent of BearingPoint's federal clients, and Lineberger credited the advance in the federal government sector to the accelerated adeptness with which Deloitte's top-ranked mergers and acquisition practice were able to integrate the two companies, smoothly transitioning nearly 4,000 employees and 3,000 contracts. BearingPoint held long-term relationships with most major departments and agencies, including the Defense, Homeland Security and Justice departments and the General Services Administration.
"The current and future synergies are substantial," Lineberger said, noting that Deloitte can provide a broader and more specialized set of products and services, including valuation and intellectual property, to a larger client base. "Finally, we now operate at a scale [inclusive of our commercial capability] that allows us to address a wider range of possible challenges facing our federal clients."
Those challenges include a perfect storm in the public sector of fiscal pressure, talent constraints and mission expansion, even as new demands for transparency, sustainability, IT security and financial accountability further stretch the federal workforce's ability to respond.
Lineberger said Deloitte is especially well positioned to help federal agencies deal with transformational challenges such as health care, financial and immigration reform, sustainability, information management and analytics, and cybersecurity.
"We plan to take a market-leading position in each of these," he said, adding that Deloitte is also working to hire experienced government employees with deep industry expertise in mission operations.
A highlight of 2009 was the launch of Deloitte's Center for Federal Innovation at its new federal headquarters in Arlington, Va., Lineberger said. The site will showcase production-ready solutions that address a swath of public-sector needs. Areas of focus include cybersecurity, technology strategy and architecture, information management, package technologies, systems integration, and technology and process management.
The biggest challenges that Deloitte faces in 2010 will be continuing to grow while maintaining the company's existing quality of services. The strategy for achieving that goal will rely heavily on the company's ability to recruit and hire the best possible talent. "Contrary to the broad labor market softness, talent for the federal market is tightening," Lineberger said.
Deloitte's fiscal 2011 kicked off at the end of May, and Lineberger expects the company to grow its federal business another 10 percent during that period. To grow even more, Lineberger said, Deloitte will look to acquire small to midsize firms that will help the company gain access to new clients, services and contracts.
About the Author
Heather Hayes is a freelance writer based in Clifford, Va.
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Of course Mr. Lineberger paints a rosey picture, especially if unchallenged. But the fact remains, BearingPoint's business was a dead man walking when Deloitte paid too much money for it. Lots of troubled contracts, departures of many valued staff and many other personnel problems. The public record contains the details of the business problems, including lack of profit. It should have been a fire-sale but was not. The new owners face legacy troubles with the legacy financial system at DHHS and will be shunned at places like VA and DOI where BP suffered the kind of contract setbacks that take many years to overcome. We should hope the Deloitte business can recover because the industry, and the government, could use a lot more competition. But there are no big bucks in it for Deloitte for quite some time, we would think.
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What You Don't Know About Cocktail Competitions
4 Things I Learned While Judging a Cocktail Competition
The cocktail scene in San Francisco is thriving and earlier this week I judged a competition hosted by the United States Bartender's Guild. There were eight bartenders from the Bay Area making drinks with DonQ rum in two distinct categories: a homemade ingredient-driven, spirit-based drink and a fruity, long drink served over ice in a tall glass.
The tasting was blind, fellow judges Martin Cate, owner of tiki bar Smuggler's Cove, and Borys Saciuk, brand ambassador for 42 Below Vodka, and I were behind a mirror, so we couldn't tell which bartender mixed which drink. Besides enjoying eight mighty delicious libations, I also learned some interesting things. To find out what they are, keep reading.
- Cocktail competitions are serious. If you think a cocktail competition is not serious, think again! There's an intense evaluation system when it comes to the drinks and the United States Bartender's Guild does not mess around. Technique (how the bartender makes/presents the drink), appearance, aroma, creativity, taste, and incorporation of theme are all considered. Everything is based on a certain number of points with some categories (like taste) counting more than others (like aroma).
- There are tons of beverage ingredients out there. I consider myself a pretty well-informed home bartender, but Martin and Borys were tossing around spirits and liqueurs I've never heard of, from averna to cocchi americano.
- Being a good bartender is way harder than it looks. Creating a drink that's complex and original and incorporates homemade ingredients is not easy to do. Neither is spending every weekend behind a bar shaking difficult-to-make drinks. The competition was held at the Burritt Room and bar manager Kevin Diedrich was wearing a special brace because he recently threw out his arm from too much shaking!
- Up-and-coming bartenders should focus on interesting, quick, and profitable drinks. Both Martin and Borys have been in the beverage industry for years, so it was fun to hear what they had to say about the future. The general consensus is that to succeed, bartenders need to create compelling cocktails that can be made quickly and sold profitably.
Have you been to a cocktail competition? What did you learn? Share with us below!

subset: commoncrawl


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Greater Boston
Convention & visitors Bureau
In addition to our regular schedule of walking tours, Boston By Foot is pleased to create a private, custom tour for your group. Private group tours are ideal for groups over 10, for corporate events, class field trips, reunions, or those looking for an experience beyond our classic regularly scheduled tours. In addition to our classic tours, you can select from a variety of themes, combinations, or let our knowledgeable and experienced guides offer a completely custom tour for your group's interests or itinerary. For more information, please call Boston By Foot at 617-367-2345 or visit www.bostonybyfoot.org. We'd be happy to help make your event in Boston a special one.


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John D. and Alicia H. Urmston to John W. Forester and Jennifer S. Jennings, 851 Swan Ridge, Redfields, $282,900.
MGR Development Corp. to Christine R. Oakley and James E. Beall, 453 Fontana Drive, $319,000.
Helen L. Simmons to Luana L. Lane, 4808 Grassy Knoll, Highlands at Mechum's River, $140,000.
Aubrey O. and Shirley T. James to Donald G. and Carol H. Turner, 6180 Midway Road, Crozet, $225,000
Ronald M. and Mary Ann Kalish to Lora E. Robertson and Jeremy Anderson, 4646 Briarwood Drive, $170,095.
Wendell W. Gibson Inc. to C. Simon Davidson and Kelly W. Mercer, 1149 Redfields Road, $275,950.
Douglas Little, Trustee of the 612 Land Trust, to Richard K. Robinson and Megan Marlatt, 2.0 acres at 746 Hammocks Gap Road, $146,500.
Harlan E. Woodward to Randy and Katherine Schrecengost, 2121 Commonwealth Drive, Westfield, $123,000.
Byron C. and Marcelle B. Sizemore to C. Michael and Kelly M. Gray, 1658 Royal Oak Court, Mill Creek, $198,000.
Cheryl R. Smith to John E. and Lindsey R. Neal, 718 Exton Court, RiverRun, $139,700.
Carolyn G. German to David M. and Jennifer R. Barredo, 433 Wynridge Drive, Minor Townhouses, $154,000.
Vera E. Shifflett to Fiona P. Hamilton-Little, 1520 Birnam Drive, Birnam Wood, $143,000.
Robert Hauser Homes Inc. to Adam J. and Lisa Katz, 503 Broadleaf Way, Springridge at Forest Lakes, $251,950.
David and Sherry K. Williams to Cendant Mobility Financial, 3024 Copper Knoll Road, Forest Lakes, $270,500.
Cendant Mobility Financial to Paul A. Mercurio and Monica Cianelli, 3024 Copper Knoll Road, Forest Lakes, $270,500.
Brian D. and Lorraine R. Dewan to Elizabeth E. Daniel, 1464 Minor Ridge Court, Minor Townhouses, $165,000.
Gary Wayne Morris to Susan K. Michie, 2396 Whitney Court, Briarwood, $119,900.
Robert H. and Jennifer M. Woodruff to John C. and Ann F. Stearns, 8.488 acres at 1714 Brown's Gap Turnpike, $367,500.
Lilly M. Mihm to Hupman Farms Inc., lot at Village Homes at Mill Creek, $159,000.
Dan and Sue Ann Conquest to Lynda Mills, 320 Shepherd's Ridge Circle, Rivercrest at Dunlora, $389,900.
Redlands LLC to Oscar E. and Laura M. Wood, 1758 Verona Drive, Fontana, $328,800.
Tommy P. Asime and Eleni K. and Konstantinos Siokis, Trustees, to John L. Bell Jr., 670 Sunset Avenue, $16,000.
Jerry C. Collins to Kirsten L. Ryan, 1694 Royal Oak Court, Mill Creek, $142,000.
Michael W. and Linda M. Harding to Shrikant Ramamurthy and Malathi Veeraraghaven, 205 Anderson Court, Ashcroft, $440,000.
Belvedere Station Land Trust to Robert Hauser Homes Inc., lot in Rivercreek Dunlora, $77,700.
Ruby C. and Kellie R. Campbell to Bunny G. Sheppard, 115 Tintern Court, Willoughby, $185,000.
Craig Enterprises Inc. to Deborah H. Smith, parcel in Redfields, $247,000.
Robert S. Kemp to Jessie E. Dixon, 1206 Gazebo Court, Branchlands Village, $175,000.
Craig Enterprises Inc. to Cheryl R. Smith, 484 Grayrock Drive, Grayrock Orchard, $240,891.
Stephen S. Park to Marcel Durieux, 2668 Kendalwood Lane, Kendalwood Forest, $372,000.
Weather Hill Homes Ltd. to High Harbor Inc., lot in Parkside Village, $53,000.
Michael W. and Linda M. Harding to Shrikant Ramamurthy and Malathi Veeraraghaven, 205 Anderson Court, Ashcroft, $440,000.


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ANCHORAGE, Alaska – Anchorage police say a heavy equipment operator died in an accident at a construction site.
Police say the rolling compactor the man was driving fell off a terraced ledge Wednesday afternoon while it was being operated in reverse gear.
Police spokesman Lt. Dave Parker says the compactor tipped over and fell about six or seven feet, and the operator was crushed.


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This is an extremely peculiar time for me, peculiar but in a good way. I realised yesterday that some of my darkest thoughts no longer dwel in my consciousness. Some of my greatest fears seem to no longer affect me. And although the pain of the past is not to be forgotten so this tiny victory is not to be misinterpreted or ignored.
There were times that i thought i could n't make it, that i was neither strong nor patient enough to prevail. I am so thankful for the magick in my life,for those who love me and whom i love, for the Goddess and those who guided me through what seemed as an endless night. I know the fight is not over yet. There are still obstacles ahead. But now i know i can do it. Now i can have faith again, faith to myself and to my future.
Tears are burning my eyes. Happy tears, tears of relief. All these overwhelming emotions are welcome. Such power those emotions have, that i feel i should put it in good use. As a thank you to all my wonderful readers and followers here goes one of my favourite protection spells for the home. You will only need a glass, a spoon, water and some salt.
Mix the water and the salt in the glass until the water seems clear.
Go to the room in the East side of your home and say this chant over the glass.
Water and Earth wherever you are,
no curse could ever be held,
in the home where i reside,
i have the Goddess(or God) 's blessings
Νερο και χωμα οπου βρεθει
καμια καταρα δεν κρατα,
στο σπιτι οπου ζω εγω
εχω την ευλογια απο τη Θεα.
Make sure to cast the spell in every single room of your house as you move clockwise. When you are finished a proctective circle is casted. Leave the glass outside, either to a balcony, or to your garden, but hide it from the evil eye. It is not to be seen by anyone but your family. It will protect your home for as long as there is water in the glass. When it is gone you can do it again. Works better on a New or a Full moon.
Be blessed and love yourselves for who you are.
A bit of happy rambling and a protection spell
This is an extremely peculiar time for me, peculiar but in a good way. I realised yesterday that some of my darkest thoughts no longer dwel in my consciousness. Some of my greatest fears seem to no longer affect me. And although the pain of the past is not to be forgotten so this tiny victory is not to be misinterpreted or ignored.
at 8:11:00 PM
8 comments:
- Rue said...
I am glad you are not having a hard time with fears and negativity anymore! What a great way to go into our new year this Samhain!
Thanks for sharing your spell! Blessing to you.
- October 11, 2009 at 10:01 PM
- Bitsa Lit said...
It is great to hear that you are feeling better. (in the post below). I have to say that...well i just started a BOS ( I hate calling it that though...it seemes to make it feel fake to me i guess)...and in it I have written my favorite herbs and different remedies and such. I think it looks great and I tend to center around a few herbs so it dosnt get too un organized.
Good Luck with the BOS!
Im also glad to hear that your getting rid of a lot of negativity and such, It always helps life flow when were not so down all the time!
Well, Blessings! and Happy Autumn!
- October 11, 2009 at 10:16 PM
- Sharon Day said...
That was a wonderful spell. I know just what you mean about the dark places now filled with light. It happens over time and you don't even realize it, but the more good days you have, the more new experiences, the more trust you put into people and find them worthy, the more the darkness recedes and everything is cast in the light of wisdom and experience. It's a part of seasoning and becoming mature. You begin to realize that every drama is temporary and nothing stays forever so you let things go. I'm so happy for you. You bring tears to my eyes to hear someone else express the same feelings I went through some time ago.
- October 11, 2009 at 11:33 PM
- jaz@octoberfarm said...
it would be strange to see one of those houses in greece!!! i live in an old victorian and i just love them even with all the problems. i love the architecture in new england and can't wait to post it. i am so tired from driving that i didn't do a very good job on my posts but hopefully they will get better after a long sleep.
- October 12, 2009 at 3:24 AM
- the wandering broom said...
i am soo happy that you have conquered some of your fears, even if it is a small step. i feel the same way on many days...that i don't have the courage to push through but there is always a light at the end of the tunnel, even if it seems small and dim right now.
i performed a similar protection spell on my parents' house many years ago but i did not keep the glass. i put the water and salt in a regular dish and after the spell was done, washed the dish and put it back with the others. i don't have a garden right now b/c i live in the city but i should do another protection spell again soon.
- October 12, 2009 at 7:17 AM
- Shadow said...
oh how i know that wonderful feeling of relief that you describe here. it's exhilarating. and thank you for your spell. just waiting for the new moon....
- October 12, 2009 at 1:30 PM
- Bridgett said...
Well this is good news! I'm so glad you're feeling more positive. :)
And thank you for that spell...I'm going to do it the next full moon.
- October 13, 2009 at 3:06 AM
- Unknown said...
I make my buttons using Photoshop.
- October 14, 2009 at 9:54 PM


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The calculation of life cycle cost includes the cost of installing and commissioning a pumping system.
The processes covered by installation and commissioning costs include:
- Installing the pumps
- Foundation work (if necessary)
- Connecting electrical wiring and instrumentation
- Installing, connecting and setting up transmitters, frequency converters, etc.
- Connecting up to the building management system
- Performance evaluation at start-up
Compared to other costs in a commercial building circulating pump system, installation and commissioning costs are often modest. However, there are certain trade-offs to consider.
For example, in speed-controlled pumps many of the components do not need to be installed and commissioned separately because they are integrated in the pump motor and the pump itself. The higher initial cost of a speed-controlled pump is thus offset to some extent by lower installation and commissioning costs.
The cost of installing and commissioning a speed-controlled pump is significantly reduced if all the components and software are integrated in a single unit.


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Efficiency has become a very important aspect of doing business, especially in our industry. Equipment owners and operators who can do the job using fewer resources are better off than their counterparts. The key is figuring out the optimal speeds to complete projects specific to your working conditions, applications and equipment.
Fleet management is made easier by a variety of strategies, software services and planning. Today's blog is dedicated to identifying the most valuable fleet management tactics for equipment owners and operators of small machines and equipment in the building, construction, landscaping and agricultural industries.


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Bathroom Furniture
Here's to new ideas! DECOLAV® wants to bring the very best in materials, design and functionality to your bathroom. Every year we update our products to be in line with the newest trends. Find below our newest release of bathroom vanities, bathroom mirrors, bathroom sinks including glass sinks, solid surface, ADA compliant and much more.
DECOLAV® offers a variety of style, material, and finish options that fit even the most discriminating tastes. DECOLAV's bathroom furniture collection, including a wide range of bathroom vanities, harmonizes style and expert craftsmanship while still being affordable. If you are looking for a vanity with sink, look no further. Some of our collection integrates the bathroom sink into the vanity. These sinks and vanities make for an easy installation process. Our vanities for the bathroom come in multiple finishes and colors. Click each item to find the one that fits your style.
DECOLAV® offers bathroom vanity countertops that are made from the finest material including granite and marble. These countertops are the perfect complement to our bathroom cabinets, sinks and vanities.
Complete your entire look with the DECOLAV® collection of bathroom mirrors that match to your style and are offered in a variety of finishes and colors. DECOLAV's mirrors accent every sink and vanity style that is already installed in your bathroom.
Cabinets and Linen Towers
Complete the suite of DECOLAV® products with the right storage space for you. Perfect for small bathroom designs or just for extra storage, our linen towers and medicine cabinets offer functionality and style. Our bathroom cabinets complete the suite of our vanities for the bathroom and provide space for toiletries and towels that you want hidden from plain view.
There are no products matching the selection.


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This item has been added to your cart.
Series #:
Part #: P-MLBPHIHRD2-G6FB
Price: $29.99
This item has returned to production, and new orders will ship approximately 8/31, or before.
It's time to hit some home runs! Our 84-piece MLB Home Run set is a great way to test your home-run hitting skills against your friends! Set your team minifigure on his rotating swivel, swing for the fences and keep score by putting your total homers on the scoreboard! This is the perfect set for baseball fans who love the long ball. Batter up! Printed, and packaged in the USA from globally sourced parts.
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Visit today and save up to 50% on greatOYO minifigures and sets!
Go to Factory Outlet Now


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AMM Jewelry Fall Collection preview
Just a quick peek at the lookbook I'm working on for my new Fall collection, launching soon!
Photo credit courtesy of Julia & Yuriy Manchik
Other Stories
21 comments:
this is a beautiful picture! can't wait to see it all :)ReplyDelete
Very exciting! Jennifer I was taken aback the other day when i came across your jewellery for sale in Spacebar Gallery in Salamanca, Hobart! [where i am!]. I was a bit excited xReplyDelete
ahhh!! gorgeous!!!ReplyDelete
LOVE this. So amazing!ReplyDelete
oh my goodness I love it already! can't wait to see more.ReplyDelete
This picture is stunning. Love it and can't wait to see more!ReplyDelete
- AnonymousAugust 21, 2012
stunning! xReplyDelete
amazing!!! what a job you did!! i'm seriously eager to see the rest of it!ReplyDelete
when i see this i want to start making jewelry, which i probably suck at :))ReplyDelete
love the photo!
Love this image! And very excited to see the new collection. :) + sending your package off today... finally :]ReplyDelete
holy cow - that photo is stunning!!!ReplyDelete
- Martina (sixblackdots)August 21, 2012
Great image!ReplyDelete
oh! can't wait to see it, this photo is so beautiful makes me feel at peace.ReplyDelete
Wonderful photo!ReplyDelete
I was so excited to see how these photos would turn out! The collection is going to be amazing, such lovely colours!ReplyDelete
This is a fabulous image! Excited to see the autumn collection and just love that wreath! Looking forward to seeing more soon!ReplyDelete
- AnonymousAugust 22, 2012
Love the image. A little too heavy makeup for my taste though.ReplyDelete
This image is very beautiful and I especially love the handmade head dress! So talented xReplyDelete
Thank you for your comments, I love hearing from you!
Questions, comments or sponsorship inquires, please contact me via the 'contact' link.


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Research on the Synergistic Mechanism of Corporations' Independent Innovation Dynamic System
According to relevant theories and practices, one of the important approaches for improving corporation's independent innovation capacity of China is to promote and strengthen the synergetic effect of independent innovation dynamic. In this study, the dynamic system of corporation's independent innovation was constructed through field investigation of the corporations on the basis of careful summarization and objective evaluation of the technical innovation dynamic theories at home and abroad; the synergetic mechanism of dynamic system of corporation's independent innovation was researched into by employing synergetic theories; and the countermeasures for safeguarding the synergetic functioning of dynamic system of corporation's independent innovation in China were put forward according to this synergetic mechanism.
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DOI: https://doi.org/10.5430/bmr.v2n3p156
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Business and Management Research
ISSN 1927-6001 (Print) ISSN 1927-601X (Online)
Copyright © Sciedu Press
To make sure that you can receive messages from us, please add the 'Sciedupress.com' domain to your e-mail 'safe list'. If you do not receive e-mail in your 'inbox', check your 'bulk mail' or 'junk mail' folders.


text:
Some of you may well have seen this research from the Guardian earlier this week, which aimed to highlight the top journalist tweeters in the UK – headed by Neil Mann, aka @fieldproducer, digital news editor at Sky News.
There just seemed to be one problem – the list was, perhaps unsurprisingly, absolutely dominated by Grauniad hacks, with half the top ten being employed by the paper running the research. The highest placed non-Guardian 'paper scribe on the list was the FT's Tim Bradshaw who came in a lowly eighteenth, while the Times could only muster one journalist in the top 50 – Michael Savage, in at #35.
Shurely shome mishtake?
We've run the findings through the tweetlevel algorithm instead to give it some more context, and the same list appear in a very different order, with Charles Arthur the highest placed hack on the list, and afore-mentioned Tim Bradshaw rocketing up to eighth.
Check out the revised list here.
Picking a couple of other tech journos at random, there were notable exceptions in the original list: from The Times, Murad Ahmed would have been in the top fifty; the Telegraph's digital media editor Emma Barnett would have triumphed in at #20; while arguably one of the UK's most influential tech industry bods, Mike Butcher, would have come in joint with Tim Bradshaw.
To be clear, we're not saying 'our list is better than yours', nor are we saying our methodology is better – we're just saying that if you're producing a list of the influential people in your industry, it might be a good idea to widen the scope to people who don't work for you.
Let us know what you make of our version of the list originally produced by the Guardian. For more info on the algorithm used, make your brain hurt reading this.


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Frequent Links
Art Nouveau
Art Nouveau (Template:IPA-fr, Anglicised to /ˈɑːrt nuːˈvoʊ/; at. Sezession, cz Secese, eng. Modern Style, germ. Jugendstil, sk. Secesia) or Jugendstil is an international philosophy[1] and style of art, architecture and applied art – especially the decorative arts – that was most popular during 1890–1910.[2] English uses the French name Art Nouveau ("new art"), but the style has many different names in other countries. A reaction to academic art of the 19th century, it was inspired by natural forms and structures, not only in flowers and plants, but also in curved lines. Architects tried to harmonize with the natural environment.[3]
Art Nouveau is considered a "total" art style, embracing architecture, graphic art, interior design, and most of the decorative arts including jewelery, furniture, textiles, household silver and other utensils and lighting, as well as the fine arts. According to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, etc. Artists desired to combine the fine arts and applied arts, even for utilitarian objects.[3]
Although Art Nouveau was replaced by 20th-century Modernist styles,[4] it is now considered as an important transition between the eclectic historic revival styles of the 19th century and Modernism.[5]
- 1 Origins
- 2 Naming
- 3 Form and character
- 4 Relationship with contemporary styles and movements
- 5 Fine art and graphics
- 6 Glass art
- 7 Sculpture and jewelry
- 8 Ceramics
- 9 Art Nouveau in Europe
- 10 Outside Europe
- 11 UNESCO World Heritage List
- 12 Noted practitioners
- 13 Works
- 14 See also
- 15 References
- 16 Bibliography
- 17 Further reading
- 18 External links
At its beginning, neither Art Nouveau nor Jugendstil was the common name of the style but was known as this in some locations, and the style had different names as it was spread.[6] Those two names came from, respectively, Siegfried Bing's gallery Maison de l'Art Nouveau in Paris and the magazine Jugend in Munich,[5] both of which promoted and popularised the style.[6]
Maison de l'Art Nouveau (House of New Art) was the name of the gallery initiated in 1895 by the German art dealer Siegfried Bing in Paris that featured exclusively modern art.[7][8] The fame of his gallery was increased at the 1900 Exposition Universelle, where he presented coordinated—in design and color—installations of modern furniture, tapestries and objets d'art.[8] These decorative displays became so strongly associated with the style that the name of his gallery subsequently provided a commonly used term for the entire style.[8] Thus the term "Art Nouveau" was created.
Part of the evolution of Art Nouveau were several international fairs which presented buildings and products designed in the new style. So, the 1888 Barcelona Universal Exposition marks the beginning of the Modernisme, with some buildings of Lluís Domènech i Montaner. The Exposition Universelle of 1900 in Paris, presented an overview of the 'modern style' in every medium. It achieved further recognition at the Esposizione Internazionale d'Arte Decorativa Moderna of 1902 in Turin, Italy, where designers exhibited from almost every European country where Art Nouveau was practiced.
Art Nouveau is usually known as Jugendstil (Template:IPA-de) in Germany, as Modern (Модерн) in Russia, as Modernisme in Catalonia (Spain), as Secession in Austria-Hungary and as Stile Liberty in Italy. The style was most popular in Europe, but its influence was global. Hence, it is known in various guises with frequent localised characteristics.[9] Other local names were associated with the characteristics of its forms, its practitioners and their works, and schools of thought or study where it was popular. Many of these terms refer to the idea of "newness". Before the term "Art Nouveau" became common in France, le style moderne ("the modern style") was the more frequent designation.[6] Arte joven ("young art") in Spain, Modernisme in Catalonia, Arte nova in Portugal ("new art"), Arte nuova in Italy (also "new art"), and Nieuwe kunst ("new art") in the Netherlands, модерн ("new", "contemporary") in Russia – all continue this theme.[5] Many names refer specifically to the organic forms that were popular with the Art Nouveau artists: Stile Floreal ("floral style"), Lilienstil ("lily style"), Style Nouille ("noodle style"), Paling Stijl ("eel style"), and Wellenstil ("wave style").[6]
In other cases, important examples, well-known artists, and associated locations influenced the names. Hector Guimard's Paris Métro entrances, for example, provided the term Style Métro, the popularity in Italy of Art Nouveau designs from London's Liberty & Co department store resulted in its being known as the Stile Liberty ("Liberty style"), and, in the United States, it became known as the "Tiffany style" due to its association with Louis Comfort Tiffany.[5][6] In Austria, a localised form of Art Nouveau was practised by artists of the Vienna Secession, and it is, therefore, known as the Sezessionstil ("Secession style").[10] As a stand-alone term, however, "Secession" (German: Sezession, Hungarian: szecesszió, Czech: secese) is used frequently to describe the general characteristics of Art Nouveau style outside Vienna, but mostly in areas of Austria-Hungary at the beginning of the 20th century. In the United Kingdom, it is associated with the activities of Charles Rennie Mackintosh in Glasgow, and is often known as the "Glasgow" style.
Form and character
Although Art Nouveau acquired distinctly localised tendencies as its geographic spread increased, some general characteristics are indicative of the form. A description published in Pan magazine of Hermann Obrist's wall hanging Cyclamen (1894) described it as "sudden violent curves generated by the crack of a whip", which became well known during the early spread of Art Nouveau.[11] Subsequently, not only did the work itself become better known as The Whiplash but the term "whiplash" is frequently applied to the characteristic curves employed by Art Nouveau artists.[11] Such decorative "whiplash" motifs, formed by dynamic, undulating, and flowing lines in a syncopated rhythm and asymmetrical shape, are found throughout the architecture, painting, sculpture, and other forms of Art Nouveau design.
The origins of Art Nouveau are found in the resistance of the artist William Morris to the cluttered compositions and the revival tendencies of the 19th century and his theories that helped initiate the Arts and crafts movement.[12] However, Arthur Mackmurdo's book-cover for Wren's City Churches (1883), with its rhythmic floral patterns, is often considered the first realisation of Art Nouveau.[12] About the same time, the flat perspective and strong colors of Japanese wood block prints, especially those of Katsushika Hokusai, had a strong effect on the formulation of Art Nouveau.[13] The Japonisme that was popular in Europe during the 1880s and 1890s was particularly influential on many artists with its organic forms and references to the natural world.[13] Besides being adopted by artists like Emile Gallé and James Abbott McNeill Whistler, Japanese-inspired art and design was championed by the businessmen Siegfried Bing and Arthur Lasenby Liberty at their stores[14] in Paris and London, respectively.[13]
In architecture, hyperbolas and parabolas in windows, arches, and doors are common, and decorative mouldings 'grow' into plant-derived forms. Like most design styles, Art Nouveau sought to harmonise its forms. The text above the Paris Metro entrance uses the qualities of the rest of the iron work in the structure.[15]
Art Nouveau in architecture and interior design eschewed the eclectic revival styles of the 19th century. Though Art Nouveau designers selected and 'modernised' some of the more abstract elements of Rococo style, such as flame and shell textures, they also advocated the use of very stylised organic forms as a source of inspiration, expanding the 'natural' repertoire to use seaweed, grasses, and insects. The softly-melding forms of 17th-century auricular style, best exemplified in Dutch silverware, was another influence.
Relationship with contemporary styles and movements
As an art style, Art Nouveau has affinities with the Pre-Raphaelites and the Symbolist styles, and artists like Aubrey Beardsley, Alphonse Mucha, Edward Burne-Jones, Gustav Klimt and Jan Toorop could be classed in more than one of these styles. Unlike Symbolist painting, however, Art Nouveau has a distinctive appearance; and, unlike the artisan-oriented Arts and Crafts Movement, Art Nouveau artists readily used new materials, machined surfaces, and abstraction in the service of pure design.
Art Nouveau did not eschew the use of machines, as the Arts and Crafts Movement did. For sculpture, the principal materials employed were glass and wrought iron, resulting in sculptural qualities even in architecture. Ceramics were also employed in creating editions of sculptures by artists such as Auguste Rodin.[16]
Art Nouveau architecture made use of many technological innovations of the late 19th century, especially the use of exposed iron and large, irregularly shaped pieces of glass for architecture. By the start of World War I, however, the stylised nature of Art Nouveau design—which was expensive to produce—began to be disused in favour of more streamlined, rectilinear modernism, which was cheaper and thought to be more faithful to the plainer industrial aesthetic that became Art Deco.
Art Nouveau tendencies were also absorbed into local styles. In Denmark, for example, it was one aspect of Skønvirke ("aesthetic work"), which itself more closely relates to the Arts and Crafts style.[17][18] Likewise, artists adopted many of the floral and organic motifs of Art Nouveau into the Młoda Polska ("Young Poland") style in Poland.[19] Młoda Polska, however, was also inclusive of other artistic styles and encompassed a broader approach to art, literature, and lifestyle.[20]
Fine art and graphics
The style was the first major artistic stylistic movement in which mass-produced graphics (as opposed to traditional forms of printmaking, which were not very important for the style) played a key role, often techniques of colour printing developed relatively recently.
A key influence was the Paris-based Czech artist Alphonse Mucha, who produced a lithographed poster, which appeared on 1 January 1895 in the streets of Paris as an advertisement for the play Gismonda by Victorien Sardou, featuring Sarah Bernhardt.[21] It popularised the new artistic style and its creator to the citizens of Paris. Initially named Style Mucha, (Mucha Style), his style soon became known as Art Nouveau in France.[22] Mucha's work has continued to experience periodic revivals of interest for illustrators and artists. Interest in Mucha's distinctive style experienced a strong revival during the 1960s with a general interest in Art Nouveau.[23]
However, Art Nouveau was not limited to Mucha's style solely but was interpreted differently by artists from around the world as the movement spread. Artists such as Gustav Klimt, Charles Rennie Mackintosh, Jan Toorop, René Lalique, Antoni Gaudí and Louis Comfort Tiffany, created Art Nouveau works in their own manner.[5][24] Magazines like Jugend helped publicise the style in Germany, especially as a graphic artform, while the Vienna Secessionists influenced art and architecture throughout Austria-Hungary.
Two-dimensional Art Nouveau pieces were painted, drawn, and printed in popular forms such as advertisements, posters, labels, magazines, and the like. Japanese wood-block prints, with their curved lines, patterned surfaces, contrasting voids, and flatness of visual plane, also inspired Art Nouveau. Some line and curve patterns became graphic clichés that were later found in works of artists from many parts of the world.
- Alfons Mucha - 1896 - Biscuits Lefèvre-Utile.jpg
Biscuits Lefèvre-Utile by Alphonse Mucha (1896)
- Martin nancy1894.jpg
Poster for an art exhibition in Nancy, France (1894)
- Lautrec moulin rouge, la goulue (poster) 1891.jpg
Moulin Rouge – La Goulue (1891) by Henri de Toulouse-Lautrec
- Alphonse Mucha - Job Cigarettes 1.jpg
Advertisement for Job Cigarettes by Alphonse Mucha (1896)
- Steinlen-Motocycles Comiot.jpg
Motocycles Comiot by Théophile-Alexandre Steinlen from Les Maîtres de l'Affiche (1899)
- William Henry Bradley - Victor Bicycles - Google Art Project.jpg
Advertisement for Victor Bicycles by Will H. Bradley (1896).
- Alphonse Mucha - Zodiac.jpg
Zodiac Calendar by Alphonse Mucha (1896)
- Divan Japonais LACMA 59.80.19.jpg
Divan Japonais lithograph by Henri de Toulouse-Lautrec (1892–93)
- John+Salome.jpg
Salome and John by Aubrey Beardsley, (1892)
- Cheret, Jules - La Loie Fuller (pl 73).jpg
Folies Bergère,
La Loïe Fuller by Jules Cheret (1893)
Glass art
Glass art was a medium in which the style found tremendous expression. Examples include the lamps and favrile glass of Louis Comfort Tiffany in New York, and notably the vases, bowls and lighting in acid-etched and marquetry cameo glass by both Émile Gallé and the Daum brothers in Nancy, France. In addition, René Lalique started to produce early works in glass which were a precursor to his work in the Art Deco style, for which he was to become famed.
- Eugène Feuillâtre (Musée dOrsay, Paris) (6686802741).jpg
Vase by Eugène Feuillâtre, Musée dOrsay, Paris
- Carnegie Museum of Art - Tiffany's lamp.JPG
Tiffany lamp, Carnegie Museum of Art
- Tiffany vase DMA 1983-28.jpg
Tiffany vase
- Tiffany Education (center).JPG
Louis Comfort Tiffany's 1890 window Education
- Vase Marguerite Gallé Petit Palais OGAL00553 n1.jpg
Vase with lilies and daises by Émile Gallé
- Vase - René Lalique.JPG
Vase by René Lalique
- Louis comfort tiffany, lampada da tavolo pomb lily, 1900-10 ca..JPG
A lamp by Louis Comfort Tiffany
- MEN Emile Galle Rose de France 24032013 5.jpg
Émile Gallé, Rose de France
- André Thesmar - Lampe de mosquée.jpg
André Thesmar, lamp, Musée dOrsay, Paris
- Daum Nature Bougeoir.jpg
Nature series - "Pâte de Verre" Antonin Daum, Nancy
- L'Iris Daum.jpg
Nature series - "Iris" Antonin Daum, Nancy
- Ngv, louis comfort tiffany, jack-in-the-pulpit vase, 1913 circa 01.JPG
Louis Comfort Tiffany, Vase, 1913
Sculpture and jewelry
Sculptors included Ladislav Šaloun, François-Raoul Larche and Charles van der Stappen. Jewelry of the Art Nouveau period revitalized the jeweler's art, with nature as the principal source of inspiration, complemented by new levels of virtuosity in enameling and the introduction of new materials, such as opals and semi-precious stones. The widespread interest in Japanese art and the more specialized enthusiasm for Japanese metalworking skills fostered new themes and approaches to ornament. For the previous two centuries, the emphasis in fine jewelry had been on gemstones, in particular on the diamond, and the jeweler or goldsmith had been concerned principally with providing settings for their advantage. With Art Nouveau, a different type of jewelry emerged, motivated by the artist-designer rather than the jeweler as setter of precious stones.
The jewelers of Paris and Brussels defined Art Nouveau in jewelry, and in these cities it achieved the most renown. Contemporary French critics were united in acknowledging that jewelry was undergoing a radical transformation, and that the French designer-jeweler-glassmaker René Lalique was popularizing the changes. Lalique glorified nature in jewelry, extending the repertoire to include new aspects of nature—such as dragonflies or grasses—inspired by his encounter with Japanese art. The jewelers were keen to establish the new style in a noble tradition, and for this they used the Renaissance, with its works of sculpted and enameled gold, and its acceptance of jewelers as artists rather than craftsmen. In most of the enameled work of the period, precious stones receded. Diamonds were usually subsidiary, used alongside less familiar materials such as molded glass, horn and ivory.
Art Nouveau ceramics were also influenced by the work of Japan. Artists called for a re-examination of vegetal and zoological motifs, particularly as seen in Japanese art. The development of high temperature (grand feu) porcelain with crystallised and matte glazes, with or without other decoration, is typical of these works. It was a period where lost techniques were rediscovered, such as the oxblood glaze, and entirely new methods were developed. Major French potters include: Ernest Chaplet, Taxile Doat, Alexandre Bigot, Adrien-Pierre Dalpayrat, Edmond Lachenal and Albert Dammouse.[25] The Zsolnay factory in Pécs, Hungary, was led by Miklós Zsolnay (1800–1880) and his son, Vilmos Zsolnay (1828–1900) with Tádé Sikorski (1852–1940) chief designer, to produce stoneware and other ceramics in 1853. In 1893, Zsolnay introduced porcelain pieces made of eosin. He led the factory to worldwide recognition by demonstrating its innovative products at world fairs and international exhibitions, including the 1873 World Fair in Vienna, then at the 1878 World Fair in Paris, where Zsolnay received a Grand Prix. Frost-resisting Zsolnay building decorations were used in numerous buildings specifically during the art nouveau movement.[26]
- Rippl-Rónai - Vase.jpg
József Rippl-Rónai Vase
- Horti - Flower pot.jpg
Vase with vines and snails by Pál Horti (1865-1907)
- Gyugyi zsolnay collection 12.jpg
- Gyugyi zsolnay collection 14.jpg
- Gyugyi zsolnay collection 11.jpg
- Vessel with mistletoe sprigs.jpg
Vessel with mistletoe sprigs
- Edmond lachenal ed émile decoeur, vaso, chatillon-sur-bagneux, 1902 ca..JPG
Edmond Lachenal, vase.
- Turn-Teplitz - Vase with elm-leef blackberry.jpg
Amphora with elm-leaf and blackberry manufactured by Stellmacher & Kessner
- Vase Rosenthal, Art-nouveau, vers 1900, h. 18 cm..JPG
Vase by Rosenthal, copper ornaments (1900)
- Limoges enamel Art Nouveau Paul Bonnaud.JPG
Paul Bonnaud, Limoges enamel
- Tiffany and Company - Covered Jar - Walters 44589 - Profile.jpg
Tiffany Studios, enamel covered jar
- Cache-pot Art-Nouveau.jpg
Cachepot, a decorative container for a plant and its pot in Art-Nouveau style
- Reginachrysovase.jpg
Vase from the Regina factory in Gouda with chryso design
- Regina Plateel met Robur Motief.jpg
Vase from the Regina factory in Gouda with Robur design
Art Nouveau in Europe
France, Belgium and Switzerland
|This section requires expansion. (June 2013)
In Paris, the Maison de l'Art Nouveau, at the time managed by Siegfried Bing, showcased Art Nouveau objects. Artists such as Émile Gallé, Louis Majorelle and Victor Prouvé in Nancy, France, founded the École de Nancy, giving Art Nouveau a new influence. In Brussels, Belgium the style was developed with the help of the architects Victor Horta[27] and Henry van de Velde.[28] Other Art Nouveau designers in Belgium, Switzerland and France include Théophile Steinlen, Hector Guimard and Jules Lavirotte.[3] The Czech artist Alphonse Mucha worked in Paris for a number of years.
Hector Guimard's Paris metro entrances were of Art Nouveau style, and Emile Gallé practised the style in Nancy. Victor Horta had a decisive effect on architecture in Belgium.[29]
Catalonia, Spain
The style was based mainly in Catalonia, with its focal point in Barcelona and was an essential element of the Catalan Modernisme. Architect Antoni Gaudí, whose decorative architectural style is so personal that he is sometimes considered as practising an artistic style different from Art Nouveau, nonetheless uses Art Nouveau's floral and organic forms as in Palau Güell (1886).[30] His designs from about 1903, the Casa Batlló (1904–1906) and Casa Milà (1906–1908), are most closely related to the stylistic elements of Art Nouveau.[31] However, famous structures such as the Sagrada Família characteristically contrast the modernising Art Nouveau tendencies with revivalist Neo-Gothic.[31] Besides the dominating presence of Gaudí, Lluís Domènech i Montaner also used Art Nouveau in Barcelona in buildings such as the Castell dels Tres Dragons (1888), Palau de la Música Catalana and Casa Lleó Morera (1905).[31] Another major modernista was Josep Puig i Cadafalch, who designed the Casa Martí and its Quatre Gats café, the Casimir Casaramona textile factory (now the CaixaFòrum art museum), Casa Macaya, Casa Amatller, the Palau del Baró de Quadras (housing Casa Àsia for 10 years until 2013) and the Casa de les Punxes ("Pointy House"). Also well-known is Josep Maria Jujol, with houses in Sant Joan Despí (1913–1926), several churches near Tarragona (1918 and 1926) and the sinuous Casa Planells (1924) in Barcelona. A few other major architects working outside of Barcelona were Lluís Muncunill i Parellada, with a magnificent textile factory in Terrassa (Vapor Aymerich, Amat i Jover, now the Science and Technology Museum of Catalonia – Museu de la Ciència i de la Tècnica de Catalunya)and a "farmhouse"/small manor house called Masia Freixe in the same city; and Cèsar Martinell i Brunet, with his spectacular "wine cathedrals", housing town cooperative wineries throughout southern and central Catalonia. A Valencian architect who worked in Catalonia before emigrating to the States was Rafael Guastavino. Attributed to him is the Asland Cement Factory in Castellar de n'Hug, among other buildings.
The spread of Art Nouveau (Arte nova) in Portugal, although delayed due to slowly developing industry, flourished in cities like Porto and Aveiro, in which can be found numerous buildings influenced by European models, in particular by French architecture. Buildings like 'Livraria Lello & Irmão', Porto in 1906 designed by Xavier Esteves.
German Art Nouveau is commonly known by its German name, Jugendstil. The name is taken from the artistic journal, Die Jugend, which was published in Munich and which espoused the new artistic movement. It was founded in 1896 by Georg Hirth (Hirth remained editor until his death in 1916, and the magazine continued to be published until 1940). The magazine was instrumental in promoting the style in Germany. As a result, its name was adopted as the most common German-language term for the style: Jugendstil ("young style"). Although, during the early 20th century, the word was applied to only two-dimensional examples of the graphic arts,[32] especially the forms of organic typography and graphic design found in and influenced by German magazines like Jugend, Pan, and Simplicissimus, it is now applied to more general manifestations of Art Nouveau visual arts in Germany, the Netherlands, the Baltic states, and Nordic countries.[5][33] The two main centres for Jugendstil art in Germany were Munich and Darmstadt (Mathildenhöhe).
Two other journals, Simplicissimus, published in Munich, and Pan, published in Berlin, proved to be important proponents of the Jugendstil. The magazines were important for spreading the visual idiom of Jugendstil, especially the graphical qualities. Jugendstil art includes a variety of different methods, applied by the various individual artists and features the use of hard lines as well as sinuous curves. Methods range from classic to romantic. One feature of Jugendstil is the typography used, the letter and image combination of which is unmistakable. The combination was used for covers of novels, advertisements, and exhibition posters. Designers often used unique display typefaces that worked harmoniously with the image.
One of the most famous German artists associated with both Die Jugend and Pan was Otto Eckmann. His favourite animal was the swan, and such was his influence in the German movement that the swan came to serve as the leitmotif for the Jugendstil.
The beginning of an Art Nouveau style can be recognised during the 1880s, in a few progressive designs such as the architect-designer Arthur Mackmurdo's book cover design for his essay on the city churches of Sir Christopher Wren, published during 1883. Some free-flowing wrought iron from the 1880s could also be adduced, or some flat floral textile designs, most of which owed some impetus to patterns of 19th century design. The most important centre in Britain eventually became Glasgow, with the creations of Charles Rennie Mackintosh and the Glasgow Four, pre-eminent members of the so-called Glasgow School, which included his wife Margaret Macdonald Mackintosh, who produced outstanding paintings.
Other notable British Art Nouveau designers include Walter Crane, Archibald Knox, Charles Ashbee, and Aubrey Beardsley.[3]
Leon Solon, made an important contribution to art nouveau ceramics as art director at Mintons. He specialised in plaques and in tube-lined vases marketed as "secessionist ware" (usually described as named after the Viennese art movement).[34] Apart from ceramics, he designed textiles for the Leek silk industry[35] and doublures for a bookbinder (G.T.Bagguley of Newcastle under Lyme), who patented the Sutherland binding in 1895.
The Edward Everard building in Bristol, built during 1900–01 to house the printing works of Edward Everard, features an Art Nouveau façade. The figures depicted are of Johannes Gutenberg and William Morris, both eminent in the field of printing. A winged figure symbolises the Spirit of Light, while a figure holding a lamp and mirror symbolises light and truth.
The Art Nouveau European Route[36] provides details of the heritage in Europe and worldwide of the Art Nouveau style featuring considerable information about Italy's Stile Liberty. This represented the modern designs from the Liberty & Co store of London, indicating both Art Nouveau's commercial aspect and the 'imported' character that it retained in some parts of Italy, though not in Palermo, isolated from developments in the north and evolving an independent character due largely to designers such as architect Ernesto Basile and Vittorio Ducrot, who specialised as a cabinetmaker. According to the Art Nouveau European Route, Basile and Ducrot were responsible for the idea of the complete work of art in Italy.
Important Italian Liberty cities or sites are the spa centres of Salsomaggiore Terme, Emilia-Romagna, and San Pellegrino Terme, Lombardy, as well as Cernobbio on Lake Como also in Lombardy. Some large cities have a considerable number of Liberty-style decorations and buildings, especially Turin, Milan, Naples, Florence, Genoa, and large sections of the sea-side town of Viareggio, Tuscany. The Liberty Style was used by Italian designers and architects overseas, especially in Argentina and Chile, such as at Valparaíso where architects Renato Schiavon and Arnaldo Barison, trained in Trieste, arrived after the earthquake of 1906. Here they built outstanding structures such as the Palace Barburizza (1915), now the city's Museum of Fine Arts.
Other important Italian art nouveau designers were the Bugatti family (Carlo, Ettore, Jean and Rembrandt) best known for their cars built in France, and furniture and art constructed in their native Milan. Carlo Bugatti, born February 1856 in Milan, was himself the son of an architect and sculptor Giovanni Luigi Bugatti. Carlo received his training at the renowned Milanese Academy of Brera, and later the Académie des Beaux-Arts in Paris. His work was wide-ranging including silverware, textiles, ceramics, and musical instruments, but he is best remembered for his innovative furniture designs, shown first in the 1888 Milan Fine Arts Fair.
Nordic countries
Art Nouveau was also popular in the Nordic countries, where it became integrated with the National Romantic Style. Good examples are the neighbourhoods of Katajanokka and Ullanlinna in Helsinki, Finland, as well as the Helsinki Central railway station, designed by the architect Eliel Saarinen. As in Germany, Jugendstil is the prevailing term used for the style. The Norwegian coastal town of Ålesund burned in 1904, and was rebuilt in a uniform Jugendstil architecture, kept more or less intact to the present.
The foremost examples of Art Nouveau architecture (Jugendstil) in Norway are found in Ålesund, which was rebuilt after a major fire in 1904, while the style was particularly relevant. A representative Ålesund jugend is the former Svaneapoteket (Swan Pharmacy). Today, the Jugendstilsenteret is located in this building. It should have been applied in 1908. Apothecary Øwre was a member of the council and the presidency in Ålesund, and after that the pharmacy was adopted also mayor in the years 1909–1910. He chose the architect Hagbarth Martin Schytte-Berg (1860–1944) to draw and construct the new pharmacy.[37] The architect was one of the leaders in the effort to restore Ålesund after the fire. His other works include Skien Church (1887–1894) and Fagerborg Church in Kristiania (Oslo) (1900–1903).
Central and Eastern Europe
In Russia Art Nouveau is known as Modern (Модерн) perhaps named after Parisian gallery "La Maison Moderne". The style was promoted by the art magazine Mir iskusstva ('World of Art'), which spawned the revolutionary Ballets Russes.
The Polish style was centred in Kraków and was part of the Młoda Polska style. Stanisław Wyspiański was the main Art Nouveau artist in Poland; his paintings, theatrical designs, stained glass, and building interiors are widely admired and celebrated in the National Museum in Kraków. Art Nouveau buildings survive in most Polish cities (Łódź, Kraków, Bydgoszcz), with the exception of Warsaw, where the few examples that survived the Nazi razing of the city were destroyed by the Communist authorities on the grounds that the buildings were decadent.
The Slovene Lands were another area influenced by Art Nouveau. At its beginning, Slovenian Art Nouveau was influenced strongly by the Viennese Secession, but it later developed an individual style. Important architects of this style include Max Fabiani, Ciril Metod Koch, Jože Plečnik, Ivan Vurnik. The vast majority of the architecture is to be found in Ljubljana.
Croatia was an area of secessionist architecture as well. Architects like Vjekoslav Bastl and Aladar Baranyai developed a mixture between modernism and classical Art Nouveau[citation needed]. The Croat architect Josip Vancaš worked mostly in Sarajevo, the capital of Bosnia and Herzegovina. His architecture was a mixture of earlier historicism and proper Art Nouveau: some of his finest Art Nouveau buildings are located in Ljubljana, Slovenia.
A localised approach to Art Nouveau is represented by the artists of the Vienna Secession, a secession that was initiated on 3 April 1897 by Gustav Klimt, Koloman Moser, Josef Hoffmann, Joseph Maria Olbrich, Max Kurzweil, Otto Wagner, and others. They objected to the conservative orientation toward historicism expressed by the Vienna Künstlerhaus.
In contrast to Historicism, Hungarian Art Nouveau is based on supposed national architectural characteristics. Besides of the Zsolnay ceramics, Ödön Lechner (1845–1914), was the most important figure in Hungarian Art Nouveau, was inspired initially by Indian and Syrian architecture, and later by traditional Hungarian decorative designs. In this manner, he created an original synthesis of architectural styles. Disusing the style of Lechner, yet being inspired by his method, the group of 'Young People' (Fiatalok), which included Károly Kós and Dezső Zrumeczky, applied the characteristic structures and forms of traditional Hungarian architecture, especially the Transylvanian vernacular.
Besides the two principal styles, Hungarian architecture also displays local versions of trends originating from other European countries. The Vienna Secession, the German Jugendstil, Art Nouveau from Belgium and France, and the influence of English and Finnish architecture are all represented in the buildings constructed at the beginning of the 20th century. Béla Lajta initially adopted Lechner's style, subsequently adopting English and Finnish trends; after developing an interest in the Egyptian style, he finally developed a modern architectural style. Aladár Árkay did almost the same. István Medgyaszay developed his own style, which differed from Lechner's, using stylised traditional motifs to create decorative designs in concrete. For applied arts, those mainly responsible for promoting the spread of Art Nouveau were the School and Museum of Applied Arts, which opened in 1896.
Szabadka, Marosvásárhely and other former areas in the Hungarian Kingdom, Vojvodina (northern Serbia) and Transylvania have fine examples of Hungarian Art Nouveau.
Art Nouveau architecture was popular in Riga, the capital of Latvia, during the late 19th century and the beginning of the 20th century – about 40% of the buildings from this time were built in this style.[38] Several substyles formed during this period. Early elements of the new style were added to Eclectic architecture forming "Eclectic" Art Nouveau. "Decorative" Art Nouveau refers to style using only decorative elements of the Art Nouveau; the first such building was built in 1899, however by 1906 decorative styles had become unfashionable.[39] Therefore the decorative style is not very widespread in Riga.[38] The most popular style in Riga is known as "Romantic" Art Nouveau. Simplistic and modern in form, these buildings were decorated with elements from other historic styles and constitute about one-third of all buildings in central Riga. From 1905 to 1911, Latvian National Romantism peaked. While being a substyle of Art Nouveau, it copied forms of traditional architecture and incorporated traditional decorative elements.[40] As Art Nouveau matured, emphasis on vertical lines became more popular, known as "Vertical" Art Nouveau, this style was most popular shortly before World War I.[39] The center of Riga is now designated as a UNESCO World Heritage site in part for its Art Nouveau architecture.[41]
A significant number of Art Nouveau structures are located in other cities and towns in Latvia, including Liepāja (hundreds of buildings), Jūrmala (notable example – Dubulti Lutheran Church, 1907), Daugavpils and others. The use of Art Nouveau outside urban centres has been rare, but there some exquisite examples such as Luznava manor house (eastern Latvia).
The style of combining Art Nouveau and national architectural elements was typical also for a Slovak architect Dušan Jurkovič who was under the influence of Hungarian Art Nouveau. His most original works are the Cultural House in Skalica in Slovakia (1905), buildings of spa in Luhačovice in Czech Republic (1901–1903) and 35 war cemeteries near Nowy Żmigród in Galicia (now Poland), most of them heavily influenced by local Lemko (Rusyn) folk art and carpentry (1915–1917). Another example of Hungarian Secession architecture is the Church of St. Elisabeth (The Little Blue Church) in Bratislava.
Czech Republic
Alphonse Mucha used the style in Prague and Moravia (part of the modern Czech Republic); his style of Art Nouveau became associated with the so-called Czech National Revival. Fin de siècle sections of Prague reveal modest buildings encrusted with images of leaves and women that curve and swirl across the façades.[42] Examples of Art Nouveau in the city, along with the exteriors of any number of private apartment and commercial buildings, are the Municipal House, the Hotel Paříž, Smíchov Market Hall, Hotel Central, the windows in the St. Wenceslaus Chapel at St. Vitus Cathedral, the main railway station, the Grand Hotel and the Jubilee Synagogue. The Olšany Cemetery and the New Jewish Cemetery are also important examples of Art Nouveau.[42] In Czech, Art Nouveau is known as secese, a name adopted from the Austrian term "Secessionism".
There are Art Nouveau buildings called the Balluta Buildings. They are apartment buildings on the eastern shore of Balluta Bay, on the northeast coast of Malta within the district St. Julian's.
Outside Europe
Although no significant artists in Australia are associated with Art Nouveau, many buildings in Australia were designed in the Art Nouveau style. In Melbourne, the Victorian Arts Society, Milton House, Melbourne Sports Depot, Conservatorium of Music and Melba Hall, Paston Building, and Empire Works Building all represent the Art Nouveau style.
Montevideo, in South America's Río de la Plata, offers a good example of the influence of the Art Nouveau style across the Atlantic. The style is very apparent in the architecture both of downtown and of the periphery of the city. Montevideo maintained intense communication with Paris, London, and Barcelona during Art Nouveau's heyday, when the city was also receiving massive immigration, especially from Italy and Spain. Those were also the years Montevideo developed the structure of its urban spaces, all of which factors help explain the widespread presence of Art Nouveau there.[citation needed]
In the other side of the Río de la Plata, Buenos Aires still conserves some of its Art Nouveau architecture, also brought by Italian and Spanish immigrants, which developed the jugendstil (Edificio Otto Wulff, by Morten Ronnow, Danish), liberty (Casa de los Pavos Reales, by Virginio Colombo, Italian), modernisme (various buildings by Julián García Núñez, Spanish-Argentine) and Art Nouveau (Chile Hotel by Louis Dubois, French) varieties. Another Argentinean city where this architecture has been recently[when?] protected is Rosario, an important port on the Paraná River.
UNESCO World Heritage List
Art Nouveau monuments are now recognised by UNESCO in their World Heritage List as significant contributions to cultural heritage.[43] The historic center of Riga, Latvia, with "the finest collection of art nouveau buildings in Europe", was included on the list in 1997 in part because of the "quality and the quantity of its Art Nouveau/Jugendstil architecture",[41] and four Brussels town houses by Victor Horta were included in 2000 as "works of human creative genius" that are "outstanding examples of Art Nouveau architecture brilliantly illustrating the transition from the 19th to the 20th century in art, thought, and society".[27]
Noted practitioners
- DameEnRobeRouge Rippl-Ronai 1898.jpg
"Lady in red dress" by Hungarian painter, József Rippl-Rónai (1898)
- Exposition Eugène Grasset au Salon des Cent.jpg
Salon des Cent poster by Eugène Grasset
- Banquette aux ombelles (musée de lEcole de Nancy) (7979231788).jpg
Bench by Émile Gallé
- The Kiss - Gustav Klimt - Google Cultural Institute.jpg
The Kiss by Gustav Klimt, 1907–08, oil on canvas, Österreichische Galerie Belvedere, Vienna
- Gustav Klimt - Hope, II - Google Art Project.jpg
Hope II by Gustav Klimt.
- Portrait of painter Anton Peschka by Egon Schiele.jpg
Portrait of Anton Peschka by Egon Schiele (1909)
- Hôtel Ciamberlani Sgraffite 2007.JPG
Hôtel Ciamberlani in Brussels by Paul Hankar
- Salonmobiliar Carlo Bugatti KGM.jpg
Furniture pieces by Carlo Bugatti
- Eath-ball.JPG
- Image-Wienzeile40 c.jpg
"Majolikahaus" (det.) 1898 by Otto Wagner[44]
- Bechstein10.jpg
Bechstein Art Nouveau grand piano 1902 made for Julius Gütermann
- Art Nouveau Dining Masson.jpg
Dining cabinet at the Musée de l'École de Nancy by Eugene Vallin.
See also
- ^ Duncan (1994), 7.
- ^ Sterner (1982), 6.
- ^ a b c d Art Nouveau – Art Nouveau Art
- ^ Henry R. Hope, review of H. Lenning, The Art Nouveau", The Art Bulletin, vol. 34 (June 1952), 168–171 (esp. 168–169): Discussing the state of Art Nouveau during 1952, the author notes that Art Nouveau, which had become disfavored, was not yet an acceptable study for serious art history or a subject suitable for major museum exhibitions and their respective catalogs. He predicts an impending change, however.
- ^ a b c d e f Michèle Lavallée, "Art Nouveau", Grove Dictionary of Art, Oxford University Press [accessed 11 April 2008].
- ^ a b c d e Duncan (1994): 23–24.
- ^ Martin Eidelberg and Suzanne Henrion-Giele, "Horta and Bing: An Unwritten Episode of L'Art Nouveau", The Burlington Magazine, vol. 119, Special Issue Devoted to European Art Since 1890 (Nov. 1977), pp. 747–752.
- ^ a b c Duncan (1994), 15–16; 25–27.
- ^ Duncan, 1; 23–24.
- ^ Georg Hirth, the editor of Jugend, applied the term "Secession" to the series of reactionary movements of the era: Nicolas Powell, "Review of C. Nebehay, Ver Sacrum, 1898–1903", The Burlington Magazine, vol. 118 (Sep., 1976): 660.
- ^ a b Duncan (1994): 27–28.
- ^ a b Duncan (1994): 10–13.
- ^ a b c Duncan (1994): 14–18.
- ^ Before opening the Maison de l'Art Nouveau, Bing managed a shop specialising in items from Japan; after 1888 he promoted Japanism with his magazine La Japon Artistique: Duncan (1994): 15–16.
- ^ Sterner (1982), 21.
- ^ http://www.musee-rodin.fr/communication/images/CPrevejaponais_anglais.pdf Edmond Lachenal produced editions of Rodin's sculptures
- ^ Jennifer Opie, "A Dish by Thorvald Bindesbøll", The Burlington Magazine, vol. 132 (May, 1990), pp. 356.
- ^ Claire Selkurt, "New Classicism: Design of the 1920s in Denmark", The Journal of Decorative and Propaganda Arts, vol. 4 (Spring, 1987), pp. 16–29 (esp. 18 n. 4).
- ^ Danuta A. Boczar, "The Polish Poster", Art Journal, vol. 44 (Spring, 1984), pp. 16–27 (esp. 16).
- ^ Danuta Batorska, "Zofia Stryjeńska: Princess of Polish Painting", Woman's Art Journal, vol. 19 (Autumn, 1998–Winter, 1999), pp. 24–29 (esp. 24–25).
- ^ http://www.trueartworks.com/poster.php/0000-0086
- ^ An Introduction to the Work of Alphonse Mucha and Art Nouveau, lecture by Ian Johnston of Malaspina University-College, Nanaimo, British Columbia.
- ^ Fraser, Julie. H. "Recycling art" style2000.com.
- ^ Duncan (1994), 34.
- ^ Edmond Lachenal and His Legacy, by Martin Eidelberg, Claire Cass, Hudson Hills Press; illustrated edition (25 February 2007)
- ^ Timeline, accessed 1/23/08
- ^ a b UNESCO World Heritage List – Major Town Houses of the Architect Victor Horta (Brussels)
- ^ Sterner (1982), 38–42.
- ^ Duncan (1994), 37.
- ^ James Grady, "Special Bibliographical Supplement: A Bibliography of the Art Nouveau", The Journal of the Society of Architectural Historians, vol. 14 (May, 1955), pp. 18–27.
- ^ a b c Duncan (1994): 52.
- ^ A. Philip McMahon, "review of F. Schmalenbach, Jugendstil", Parnassus, vol. 7 (Oct., 1935), 27.
- ^ Reinhold Heller, "Recent Scholarship on Vienna's "Golden Age", Gustav Klimt, and Egon Schiele", The Art Bulletin, vol. 59 (Mar., 1977), pp. 111–118.
- ^ Muter, Grant (1985). "Leon Solon and John Wadsworth". Journal of the Decorative Arts Society. Retrieved 2 December 2013.
- ^ He was commissioned by the Wardle family of dyers and printers, trading as "Thomas Wardle & Co" and "Bernard Wardle and Co".The Wardel Pattern Books Revealed
- ^ http://www.coupdefouet.eu/
- ^ Jugendstilsenteret in Ålesund
- ^ a b "Jūgenstils". Enciklopēdija "Rīga" (in Latvian). Riga: Galvenā enciklopēdiju redakcija. 1988. p. 334.
- ^ a b Krastiņš, J; Vasiļjevs, J (1978). "Rīgas izbūve un arhitektūra 19. gs. otrajā pusē". In J, Krastiņš. Rīga. 1860–1917 (in Latvian). Riga: Zinātne. pp. 437–445.
- ^ "Nacionālā romantisma celtnes". Enciklopēdija "Rīga" (in Latvian). Riga: Galvenā enciklopēdiju redakcija. 1988. p. 483.
- ^ a b UNESCO World Heritage List – Historic Centre of Riga.
- ^ a b Marie Vitochová Jindřichkjer and Jiří Všetecka, Prague and Art Nouveau, translation by Denis Rath and Mark Prescott, Prague: V Raji, 1995.
- ^ In addition to monuments in Riga and Brussels that are specifically named as examples of Art Nouveau, the "Works of Antoni Gaudí" in and around Barcelona are recognised as "outstanding examples of the building typology in the architecture of the early 20th century." See World Heritage List – Works of Antoni Gaudí
- ^ Sterner (1982), 169.
- Duncan, Alastair. Art Nouveau. World of Art. New York: Thames and Hudson, 1994. ISBN 0-500-20273-7
- Heller, Steven, and Seymour Chwast. Graphic Style from Victorian to Digital. New ed. New York: Harry N. Abrams, Inc., 2001. p. 53–57.
- Sterner, Gabriele. Art Nouveau, an Art of Transition: From Individualism to Mass Society. 1st English ed. (original title: Jugendstil: Kunstformen zwischen Individualismus und Massengesellschaft) Trans. Frederick G. Peters and Diana S. Peters. Woodbury, N.Y.: Barron's Educational Series, 1982. ISBN 0-8120-2105-3
- Speziali, Andrea. Italian Liberty. Una nuova stagione dell'Art Nouveau, Cartacanta, 2015
Further reading
- Art Nouveau Grange Books, Rochester, England 2007 ISBN 978-1-84013-790-3
- William Craft Brumfield. The Origins of Modernism in Russian Architecture (Berkeley: University of California Press, 1991) ISBN 0-520-06929-3
External links
|Wikimedia Commons has media related to Art Nouveau.
|Wikimedia Commons has media related to Art Nouveau architecture.
- Art Nouveau at DMOZ
- Réseau Art Nouveau Network, a European network of Art Nouveau cities.
- Art Nouveau European Route The most complete information on Art Nouveau heritage in Europe and worldwide.
- Art Nouveau in Nancy "Ecole de Nancy" and the Villa Majorelle
- Art Nouveau -Historic Places in Canada
- art1900.info Art Nouveau in Central Europe
- lartnouveau.com Art Nouveau in France and in Europe
- Europeana virtual exhibition of Art Nouveau
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With reports swirling about that Kick-Ass co-writer Jane Goldman is currently writing that film's sequel, the X-Men: First Class co-scribe took to Twitter earlier today in an attempt to set the record straight. Via two different tweets, Goldman denied reports that she is already hard at work on Kick-Ass 2 saying:
"Saw a few erroneous reports today that I'm currently writing Kick Ass 2 script – sorry if anyone's disappointed, but not true. Currently writing for 2 other projects, then on to lovely Matthew V's next thing (right now, looks unlikely to be KA2) when X-Men post-prod' ends."
Based upon the above, if Goldman's not working on the Kick-Ass 2 script and it's "unlikely" that director Matthew Vaughn's next film will be Kick-Ass 2, then what's Vaughn working on after X-Men: First Class? For my best guess, hit the jump.
While this is pure speculation, Kick-Ass co-creator (along with artist John Romita, Jr.) Mark Millar claimed back in December that his latest comic-turned-optioned-movie Superior had landed the "most high-profile actor of 2010" and that an official announcement on the film would come in January. With just over one week left on Millar's self-imposed timeline, will we soon be hearing that Superior is Vaughn's next project?
Of course, this is just wide-eyed speculation at this point as there is still a chance that Kick-Ass 2 will be the next item on Vaughn's plate. That said, given his experience in both adapting comics for the big screen and working with Millar, Superior wouldn't be the most absurd project for the director to take on.
Vaughn and Goldman's next film, X-Men: First Class hits theaters on June 3rd. In case you missed it, you can check out what the director recently had to say about that film by clicking here.


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Answers about Inactive Accounts
Select from the following questions about inactive bank accounts and escheatment.
- When is a deposit account considered inactive or unclaimed?
- Why would a bank send me a notice stating that my account may be turned over to the State Treasurer as abandoned property?
- I recently found some old bank records (i.e., account statements, certificate of deposit receipts, passbooks). The bank does not exist anymore and the new bank cannot locate any record of the account. What should I do?
- What can you tell me about State Unclaimed Property programs?


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VANCOUVER, BC – On a rainy Father's Day, Vancouver Whitecaps FC U-23 overcame the conditions (3W-3L-3D) to a earn a decisive 3-0 victory over Puget Sound Gunners FC (1W-4L-2D) at Percy Perry Stadium. The result extended the 'Caps' win streak to three, following wins over Portland Timbers U-23 (4-1) and Washington Crossfire (2-1) in their two previous outings.
Three first half goals shared amongst Cody Cook (2) and Niall Cousens (1) propelled the 'Caps to a well-deserved victory. Midfielder Brett Levis was another key man on the afternoon, recording six shots, as well as playing an integral role in Cook's second goal.
On 10 minutes, Whitecaps FC had the first chance of the game. Cousens used his strength to hold the ball up at the top of the 18 before laying it off to Marlon Ramirez. The Honduran attacker then cut back and fired a shot that was handled by Puget Sound's Keegan Rogers.
From there, the Blue and White took a stranglehold of the game. The pendulum swung as Cook tapped in a cross from Cousens to make it 1-0 for the home side in the 11th minute. The goal was created by an alert Cousens, who intercepted a nonchalant back pass from the Gunners.
In the 27th minute, Niall Thompson's side found their second goal, as the creator of the first, Cousens, was rewarded by being set-up nicely for the second. The Vancouver-born striker banged home a pin-point cross from Colton O'Niell.
On 33 minutes, the home side nearly found another goal through a Puget Sound error, as Brett Levis won possession back for the 'Caps deep inside Puget Sound territory. The University of Saskatchewan star carried the ball to the edge of the box and curled an effort wide-left of the goal.
Five minutes later, Whitecaps FC had a penalty appeal turned down by the referee. Cook found himself with the ball at his feet following a mesmerising string of short ground passes, as the goalscorer flicked the ball over the last defender, he appeared to be clipped, however, the referee did not give the decision.
Regardless, Cook found his way onto the scoresheet, once more. With four minutes to go until halftime, Levis had another one of his shots parried by Rogers with the rebound, but fortunately, the Cranbook, BC native was first to the rebound, and scored his second of the afternoon, putting Whitecaps FC up 3-0.
The 'Caps came out positively to begin the second half, looking to add to their lead. However, three big saves within the first eight minutes from Rogers kept the Blue and White at bay, and the lead at 3-0.
The Gunners of Puget Sound were reduced to 10 men on 61 minutes. Fausto Ordenana of the visitors was sent off for his second yellow card after an overaggressive challenge on Mark Baldisimo over a 50/50 aerial ball.
With the score advantage and the man advantage, the home side cruised the rest of the way, controlling possession and pinning Puget Sound inside their own half for the majority of the last half hour.
Assistant Coach Steve Meadley was content with the way the team performed.
"We're happy with the performance, we're showing a lot of good signs of coming together as a squad, and we're playing our way," Meadley told whitecapsfc.com after the match. "We're never comfortable in a game [though], we're constantly demanding high standards of the boys and we expect them to play the same way whether we're playing against 10 or 11 men."
Next up for the in-form 'Caps is the return leg of the home-and-home series with Puget Sound, as Thompson's side travels down to Washington in search for another positive result versus the Gunners. That match will take place on Friday, June 20, with kickoff scheduled for 7 p.m. PT at Issaquah High School.
Scoring Summary:


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About Us
Transition 101
Transition Towns
Knowledge Hub
I learned a new term this week: Stationarity.
More specifically, "the end of stationarity," which is apparently a new phrase coined by scientists to describe the growing turmoil of climate change.
Climate change is disrupting all humanity's presumptions. For eons, people have counted on reliable things like the seasons, the weather, adequate rainfall -- all necessary for growing food. People have counted on rivers staying within their banks, hillsides staying in place, oceans growing fish, and wells bringing up water to drink. All these erstwhile-steady things are now widely variable.
In November 2005 we held a small gathering -- a book launch party for Legacy: A Story of Hope. We didn't know it at the time, but that small gathering was the first for a group that would become the Environmental Change-Makers.
It was the start of a chain of change-making events and projects that would see the building of the Community Garden at Holy Nativity, the Emerson Avenue Community Garden, and the Westchester Community Oven. It would include hosting various Transition Trainings, and being the "initiator" for the Transition movement for many sites across Southern California.
It would mean having influence on edible gardens across the area, initiating a local fruit gleaning program, and championing Divestment campaigns both at home and nationally.
It would include big events like hosting a 5-day Seed School, running logistics for Vandana Shiva, and trying to pass a local GMO-free initiative. Deeply reflective events like the Work of Joanna Macy. Chaotic events like the Cluck Trek tour of local chicken coops. It would include dozens of vegetable gardening classes, and small events like local seed swaps and quiet monthly garden parties.
But it all started with a story.
Divestment is the opposite of investment: you can think of it like "uninvesting."
To divest from fossil fuels means to sell all the oil and gas company stocks in your investment portfolio (or your university's portfolio, or your faith community's portfolio, or your city's portfolio…). For a deeper explanation of what it is, see What is Divestment from Fossil Fuels? Here I'm going to presume you understand what it is, and discuss what to do about it as an activist within your community or organization.
The process of divesting from fossil fuels follows a certain timeline. And where an organization is on this timeline determines the type of action, talking points, and answers that activists need to use. I break the timeline down into the Consideration phase, the Declaration, and the Implementation phase.
Don't you love it when the same publication carries conflicting reports about the economy, posted on the very same day?
Thursday, CNN ran a piece celebrating the job count, claiming the economy is nearly back to pre-crash figures. Yet in a simultaneous article, more than half of Americans now agree that the American dream is out of reach.
Friday, the leading headline of the Los Angeles Times touted job figures. And in the same issue they carried an article decried the sharing economy for its darker side: desperation. That article calls the sharing economy "disaster capitalism."
I love the phrase, because capitalism in its current form is truly a Disaster.
I don't wanna. I don't wanna hafta. I won't unless you make me.
In a way, this is the grand Toddler Tantrum of them all. Mother Earth has said a firm No, and we're in the midst of a huge-ola, larger-than-life, encompassing-all, societal Toddler Tantrum.
Last week marked the trimphant wrap-up of our Human Ecology class at Otis College of Art and Design. It was a great group of students this semester, and their enthusiasm shone through in their final projects.
We celebrated with people from Transition Mar Vista/Venice as well as people from other departments at Otis. As teacher Elektra Grant expained so well in her introduction, it seems approprate that the "Human Ecology" class has so many stakeholders.
For me, this class was particularly special because it debuted the economics puzzle pieces I'd so long wanted to try.
This post is in response to one by Rob Hopkins, which was in response to one by David Holmgren.
In case I don't use sufficiently 'skillful means,' please let me begin with stating: I am not advocating for intentionally creating an economic crash.
Rob says about economics "once it starts getting even vaguely complicated, leaves me rather puzzled." I don't shy away from complicated, although I do strive to simplify things as I explain them, so that more people can understand. I have waded through tons of what many people lay out as possibilities for new economic alternatives, hunting for how to successfully unwind the terminally-flawed system we've got (success=relatively peacefully), and ideas for how to build a wiser parallel system.
In Rob's "One: A Post-Growth Economy = Economic Crash?" most of the thinkers Rob has selected to list -- including all the Steady Staters -- are missing a HUGE element as they create their post-growth economic pictures, while Holmgren seems to have understood it from the very early days of his Energy Descent curve: that element is Biocapacity, a.k.a. Ecological Footprint. Right now humanity consumes far more, and generates more waste, than the ecosystems of the planet can handle.
We're caught in the squeeze right now.
Climate change is advancing at an incredible speed. We know we should do something, but we lack the political will to do what it takes to hold it to 2°C. UN committees are now being counseled to prepare for 4°C of warming. To keep it survivable, there's got to be a powerdown -- starting today.
Meanwhile green-tech enthusiasts cheer the rapid rate at which certain countries are installing renewable energy infrastructure. But reports are now surfacing of shortages in the rare earth ingredients needed to make that renewable infrastructure. We don't have enough rare earth materials to replace the whole fossil infrastructure and continue on our current level of consumption. No one dares speak the little secret: Even with renewables, there's got be a powerdown.
Shale oil is environmental desecration. But people are willing to consider it because there is potentially vast amounts of money in it because the easier-to-get-to oil is running out. Along with stopping fracking, there's going to be a powerdown. But no one is talking about that part.
We should "keep the coal in the ground" scientists are telling us, and activists have (rightfully) picked up the cry. But no one never mentions the other side of the Stop Coal equation: the powerdown. We have to start talking about what we are willing to give up.
It's a sign of a really good essay when bits of it linger with you for days after you've read it and it keeps popping up in your mind. Naomi Klein's "Why Science is Telling All of Us to Revolt and Change Our Lives Before We Destroy the Planet" is one of those. Her theme? "Global capitalism has made the depletion of resources so rapid, convenient and barrier-free that 'earth-human systems' are becoming dangerously unstable in response."
"Serious scientific gatherings don't usually feature calls for mass political resistance, much less direct action and sabotage," Klein writes. She describes UC San Diego geophysicist Brad Werner at a major scientific conference as "observing that mass uprisings of people -- along the lines of the abolition movement, the civil rights movement or Occupy Wall Street -- represent the likeliest source of 'friction' to slow down an economic machine that is careening out of control."
The part that keeps itching at me, days after I read Klein's article, is the presumption that "mass uprisings" are the only way out of this mess.


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Sop with Jack Mousse Cake
Difficulty: Medium
Servings: 1-2
Preparation Time: 60 mins
Cooking Time: 35 mins
Cake batter
Mousse filling
Jelly topping
1. Preheat oven to 160°C. Grease and line a deep round baking tin (9 inches in diameter) with paper.
2. Whisk eggs, sugar and vanilla essence with the Bosch kitchen machine using the whisk tool. Start at speed 3 and gradually increase to speed 6. Whisk till the mixture turns stiff.
3. Fold in sifted flour into mixture. Add melted butter and mix well together while folding in the sifted flour. Pour mixture into baking tin and bake for about 35 minutes. When cooled, cut the cake into 3 layers.
4. Meanwhile, prepare the mousse mixture. Dissolve gelatine in water over low fire. Leave to cool. With the Bosch kitchen machine, whisk fresh cream until it turns stiff. Add in soursop and jackfruit.
5. Add cooled gelatine into the mixture and mix well with a hand whisk. Position one layer of cake on a cake board and place cake ring over.
6. Spread 1/3 of mousse mixture on top of cake. Repeat same process until all mousse is used up. Do not leave any gap at the sides to prevent jelly topping from flowing.
7. Boil water, sugar, juice and instant jelly together. Set aside until lukewarm. Leave in the fridge to set for at least 60 minutes.


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If there's a theme to Saturday nights, it's saying and doing things you regret on Sunday. Therefore, here follows a round-up of the various mealy-mouthed guarantees and guarded boasting that amounts to this week's "bulletin board material." You said you're confident in your team's chances of victory if you execute properly and not beat yourself. Fuck no, you didn't! That's you assuming you're not inherently inferior. That's disrespect at its most blatant! I'll meet you at the 50-yard line with my half-shirt on. GWRAARRR!
•Chad Johnson has promised, as he seems to do weekly, to perform the newest, greatest addition to the Chad Johnson New Millennium Minstrel Show should he get in the endzone during Monday's game against the Ravens. This despite the fact that he didn't score on the Ravens in their two meetings last year.
Says Ocho Cinco: ""Ed [Reed] is on my hit list. Ed almost knocked me out last year on that first play of the game when they intercepted it and took it to the house, so I owe him one."
•The Raiders defense named their fumble-recovery drills this week after Lions running back Tatum Bell, who fumbled five times last year as a member of the Broncos. In response, the Lions named their "let the ball hit the ground" drills after Oakland QB Daunte Culpepper.
•49ers TE Vernon Davis said he wants to "abuse" Week 1 opponent The Buzzsaw That is the Arizona Cardinals. Pink Taco officials were scrambling at post time to add "Don't let Vernon Davis abuse us so much" to the list of Cardinals' "keys to the game."
•Browns receiver Josh Cribbs said "We're going to take this game and win it, and we're going to move on," said Cribbs. "It's not even a second thought in our heads. There's no doubt in my mind [we're going to win]." He paused, then asked the reporter, "Wait, we're not starting Brady Quinn, are we? No? Okay, then you can print that." The Steelers, meanwhile, have won 13 of the last 14 versus the Browns.
Simply rousing. You mean none of them shaved any sort claim of ownership of another player in their head? DeAngelo Hall wonders why you even bother.


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MSI's latest version of its popular Wind netbook, the U123, has been announced this week, featuring a faster processor than the first-gen models along with an in-built 3G radio and television tuner.
While we are big fans of the latest slimline Wind U120 - which shares the same slightly faster and more efficient N280 1.66GHz Atom processor as the new U123 - the addition of the 3G telly and radio tuner is a real Brucie bonus.
MSI's machine packs in a 160GB HD, 1GB RAM and a six cell battery
Goodbye dongle
Dongles are soon to be well out of fashion for working on the go, with in-built 3G connectivity surely soon to be standard on most new netbooks.
MSI's new Wind will also feature an antenna socket alongside its three USB ports, monitor output and SD reader.
Turning the Wind into a proper portable telly with no need for any further external tuners really is a stroke of genius.
Stay tuned for more on UK pricing and release as and when we get it.


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Course Description
PS 491 Internship in Public Policy or Law 2-12 cr.
- Offered: On demand
- Graded: S/U
- Prerequisite: Junior standing or instructor's permission.
Practical experience working in a national, state or local government office, public interest group, corporate office, or a public or private law office. Credit hours vary depending on the weekly time commitment.
Note: Only eight credit hours may be applied toward a political science or public administration major, and only four credit hours may be applied toward those minors. Credit earned above these limits can count toward general elective credits.


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Mitt Romney blasts Obama's foreign policy leadership
BURLINGTON, Mass. -- Republican Mitt Romney is arguing America needs new foreign policy leadership, using President Barack Obama's handling of the Middle East as an opening to criticize the incumbent before Wednesday's first presidential debate.
With both candidates hunkered down and practicing for their first face-off, Romney is offering a mixed argument against the president after a rough month that left the Republican trailing the incumbent in swing states even as they are closely running in nationwide polls.
In an opinion piece published Monday in The Wall Street Journal, Romney tried to show how he could be a better commander in chief as he accused the administration of minimizing the seriousness of the attack on the U.S. Consulate in Libya and other threats in the region. However, none of his ads running in the few states that will determine who will win the race mention world affairs and instead are focused heavily on the economy.
Romney's campaign had promised a focused argument against Obama's handling of the economy earlier this year. But tumultuous events overseas and the revelation of a secretly recorded video of Romney telling donors that 47 percent of the country believes they are victims entitled to government assistance has pushed his campaign off its planned course.
The first debate is focused on domestic policy, and Romney adviser Ed Gillespie acknowledged Monday that the former Massachusetts governor expects questions about the video.
Obama was huddling Monday with top advisers at a desert resort in Nevada. Romney had practice planned in Massachusetts, where he also spent most of the weekend working with his debate team. The Republican challenger was then headed to Denver, the site of the first debate, later Monday for a rally and more preparation for the high-stakes event.
Five weeks from Election Day, polls show Romney trailing Obama in many of the nine states that will determine the outcome of the White House race. The three October debates give Romney one of his best opportunities to stem Obama's momentum and convince the public to back his vision for the nation's future.
"What I'm most concerned about is having a serious discussion about what we need to do to keep the country growing and restore security to hard-working Americans," Obama said Sunday night during a rally in Las Vegas. "That is what people are going to be listening for. That's the debate you deserve."
Romney planned to deliver a major foreign policy speech in the coming weeks and argued in The Wall Street Journal that the United States appears to be at the mercy of disturbing developments overseas, instead of shaping them.
"We're not moving them in a direction that protects our people or our allies," Romney wrote. "And that's dangerous."
His running mate, Wisconsin Rep. Paul Ryan, and other Republicans appeared on Sunday news shows and criticized Obama's response to the Sept. 11 attack on a U.S. Consulate in Libya that killed the U.S. ambassador and three other Americans working there.
Ryan said on "Fox News Sunday" that the Obama administration's response was slow, confused and inconsistent. He accused the president of having a policy of weakness.
"We're seeing the ugly fruits of the Obama foreign policy unravel around the world on our TV screens," Ryan said. "Syria, you've got 20,000 dead people. Iran is closer toward a nuclear weapon. The Middle East peace process is in shambles and we have our flags being burned all around the world. Russia is thwarting us at every stage in the process. This is a weak foreign policy with terrible results which makes us less safe."
Gillespie and fellow Romney adviser Kevin Madden told reporters during a conference call on Monday that the disparate set of pitches -- on health care, taxes, the economy, foreign policy and energy -- are all part of the argument that the country can't afford four more years of Obama.
"Our message is very clear, which is we cannot afford four more years like the last four years. And we need a real recovery. We need policies that are going to help," Gillespie said.


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